Today’s opinions and
attitudes may take on quite different
perspectives when new points of reference
emerge. This is particularly true of
musical performance reviews.

Recently several new
recordings of guitar music representing
composers from the mid 18th
to the early 19th century
have been released. These include Anabel
Montesinos’s Guitar
Recital (Naxos 8.557294), Tilman
Hoppstock’s Classical
Guitar Christophorus CHE 0118-2),
and Fernando Espi’s Francisco
Tárrega Guitar Pieces
(Verso VRS 2007)

A recording of guitar
music from the same period by the Canadian
guitarist Norbert Kraft was made in
1993 and subsequently released on the
Naxos label: 19th Century
Guitar Favourites (8.553007). In
the context of these newer recordings,
revisiting this is very interesting,
because it highlights aspects that originally
may not have been so conspicuous.

Norbert Kraft needs
no introduction to those familiar with
the classical guitar and its repertory.
Bonnie Silver and Norbert Kraft have
acted as producer and technical support
respectively for much of the extensive
series of classical guitar recordings
on Naxos. His credentials as a classical
guitarist are impressive including the
Canadian CBC Radio Competition First
Prize (1975) and First Prize (1985)
in the Segovia International Competition,
Mallorca. He has served as a faculty
member of the Manhattan School of Music
and professor of guitar and chamber
music at the University of Toronto and
the Royal Conservatory of Music.

19th
Century Guitar Favourites comprises
precisely what the title implies, and
although some subjectivity is always
involved in such a compilation, Mr Kraft
reflects extensive experience and good
taste in his selection of music by Sor,
Aguado and Tarrega.

The challenge in such
a recording is that "favourites"
often connotes "done to death"
and ensuing ennui. Not so in this recording.
Employing a combination of refreshing
interpretation, musicianship and technical
facility, Mr Kraft imbues these compositions
with vigour and new appeal. Dimmed are
past student recollections of pain inflicted
by these masterpieces on untrained fingers
inspired to explore their musical beauty.

Studies by Sor from
Op. 35,31 and 6 have never received
better treatment than on recording.
The rendition of Op 6 no.12 (9) embellishes
the exquisite musical content in a way
few before have managed to achieve.

There is a real lilt
in the Tárrega polka, waltz and
mazurkas, conveying intentions the composer
doubtless had when he composed and so
named them. Estudio brillante {24) is
a very appealing composition, and a
particularly challenging arpeggio study.
The rendition on this recording is impeccable
and not even Segovia (EMI CHD 7610 482)
can match it although Christopher Parkening
(Angel S 360 20) comes close.

A study in tremolo,
Recuerdos de la Alhambra (Recollections
of the Alhambra) is nurtured with a
very slow smooth tremolo and beautiful
"mood shading" in the phrasing.
Just as Tárrega intended it,
this combination gives strong evocation
of the Alhambra, the fortress-palace
of the Moorish kings at Granada

To ensure that an acute
attack of "imaginitis" was
not prevailing, the following nine recorded
versions of Recuerdos de la Alhambra
were reviewed, after which Mr Kraft
was awarded this writer’s nomination
for best overall rendition.

The fine instrument
used on this recording is by Paulino
Bernabé, Madrid. It is another
complementary link in a chain of excellence.

A decade may have passed
since the release of this disc, but
in decades to come it will remain as
a testament to superb guitar playing,
refined interpretations and good taste.
Definitely my desert island "allowed
one only" choice

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